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Carl Andre's “Stone Field Sculpture”

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Carl Andre's “Stone Field Sculpture” Carl Andre’s “Stone Field Sculpture” 36 Rocks Sitting on the Triangularish Lawn on Gold Street Near Main “Stone Field” Sculpture, Hartford 2015 Update: Construction on Gold Street prompted utilities worker to spray paint the rocks. Guess they didn’t think/realize this was an art installation. Art. It means different things to different people. Hartford has a rather, um, unique installation right next to the historic “Ancient Burying Grounds” cemetery and across the street from the Wadsworth Atheneum; 36 rocks sitting on the triangularish lawn on Gold Street near Main Street. What makes this field of stones interesting enough for me to take a picture of it and write about it is the massive public outcry that greeted its unveiling. Hartford denizens and writers still talk about it; marking anniversaries with biting editorials and sarcastic blurbs. Carl Andre was (and is) an “important” artist and sculptor. So Hartford apparently had $87,000 to throw around back in 1977 and decided to commission him for an installation. He accepted and Hartford got… Yup, 36 rocks sitting on the triangularish lawn on Gold Street near Main. The BBC seems to be enamored with Mr. Andre… “Andre’s sculptures tend to involve simple elements – bricks, for example, or stones – arranged simply and without any subjective content… Andre’s sculptures tend to hug the ground, an unusual quality in sculpture. They also tend to excite unfavourable comment; abstract art usually does that. Stone Field Sculpture, which was created in 1977, consists of eight rows of boulders in a triangular shape, so that the first row contains one large boulder, and the eighth row eight smaller boulders. The stones are of local rock, and were chosen so that their composition reflects the makeup of rock in the area. For example, there is the same proportion of basalt to gneiss (metamorphic rock) in the sculpture as there is in the Hartford area. The rows of stone are reminiscent of tombstones, a comparison made clear because Hartford’s Ancient Burying Ground is adjacent to the sculpture. 01 Bigest rock 02 Slightly smaller rocks 03 Slightly smaller rocks etc 04 Slightly smaller rocks etc 05 Slightly smaller rocks etc 06 Slightly smaller rocks etc 07 Slightly smaller rocks etc 08 Slightly smaller rocks etc 36 Rocks As a major work by an important artist, you would expect Stone Field Sculpture to hold an honoured place in Hartford, but you’d be wrong. The conservative ethic runs deep there, and the work is regarded as something of an embarrassment by many who should know better. Life is like that sometimes – show beauty and meaning in certain ways and it will be missed. If it means you must sit and enjoy it in solitude, the better for you and the worse for them.” The city even tried to get out of their contract with Andre and not pay him a dime. (This was mostly driven by the popular outcry over the installation.) But once lawyers got involved, the city paid up and there it sits; 36 rocks sitting on the triangularish lawn on Gold Street near Main. Carl Andre Carl Andre September 16, 1935 (age 83) Born Quincy, MA Nationality American Education Phillips Academy, Andover, MA Known for Sculpture Movement Minimalism Spouse(s) Ana Mendieta (1985) sculpture '43 Roaring forty' by Carl Andre at Kröller-Müller Museum, 1968. Netherlands Sculpture 'Weathering Way' by Carl Andre at Museum Middelheim, 2001 Carl Andre (born September 16, 1935) is an American minimalist artist and recognized for his ordered linear format and grid format sculptures. His sculptures range from large public artworks (such as Stone Field Sculpture, 1977 in Hartford, CT[1] and Lament for the Children, 1976[2] in Long Island City, NY) to more intimate tile patterns arranged on the floor of an exhibition space (such as 144 Lead Square, 1969[3] or Twenty-fifth Steel Cardinal, 1974). In 1988, Andre was tried and acquitted in the death of his wife, artist Ana Mendieta. Early life Andre was born in Quincy, MA. He completed primary and secondary schooling in the Quincy public school system and studied art at Phillips Academy in Andover, MA from 1951 to 1953.[4] While at Phillips Academy he became friends with Hollis Frampton who would later influence Andre's radical approach to sculpture through their conversations about art[5] and through introductions to other artists.[6] Andre served in the U.S. Army in North Carolina 1955–56 and moved to New York City in 1956. While in New York, Frampton introduced Andre to Constantin Brâncuși through whom Andre became re-acquainted with a former classmate from Phillips Academy, Frank Stella, in 1958. Andre shared studio space with Stella from 1958 through 1960.[6] Career Andre's early work in wood may have been inspired by Brâncuși, but his conversations with Stella about space and form led him in a different direction. While sharing a studio with Stella, Andre developed a series of wooden "cut" sculptures[5] (such as Radial Arm Saw cut sculpture, 1959, and Maple Spindle Exercise, 1959). Stella is noted as having said to Andre (regarding hunks of wood removed from Andre's sculpture) "Carl, that's sculpture, too."[7] From 1960 to 1964 Andre worked as freight brakeman and conductor in New Jersey for the Pennsylvania Railroad. The experience with blue collar labor and the ordered nature of conducting freight trains would have a later influence on Andre's sculpture and artistic personality. For example, it was not uncommon for Andre to dress in overalls and a blue work shirt, even to the most formal occasions."[4] During this period, Andre focused mainly on writing and there is little notable sculpture on record between 1960 and 1965. The poetry would resurface later, most notably in a book (finally published in 1980 by NYU press) called 12 Dialogues in which Andre and Hollis Frampton took turns responding to one another at a typewriter using mainly poetry and free-form essay-like texts.[5] Andre's concrete poetry has exhibited in the United States and Europe, a comprehensive collection of which is in the collection of the Stedelijk Museum in Amsterdam.[8] In 1965 he had his first public exhibition of work in the Shape and Structure show curated by Henry Geldzahler at the Tibor de Nagy Gallery.[9] Andre's controversial Lever was included in the seminal 1966 show at the Jewish Museum in New York entitled Primary Structures. In 1969 Andre helped organize the Art Workers Coalition. In 1970 he had a solo exhibition at the Solomon R. Guggenheim Museum. In 1972, Britain's Tate Gallery acquired Andre's Equivalent VIII, an arrangement of firebricks. The piece was exhibited several times without incident, but became the center of controversy in 1976 after being featured in an article in The Sunday Times and later being defaced with blue food dye. The "Bricks controversy" became one of the most famous public debates in Britain about contemporary art.[10][11] Quotes of the artist - "I realized the wood was better before I cut it, than after. I did not improve it in any way."[2] [quote, c. 1959; when Andre was making his sculpture 'The Last Ladder' - "Well sure, my sculptures are floor pieces. Each one, like any area on the surface of the earth, supports a column of air that weighs – what is it? 14.7 pounds per square inch. So in a sense, that might represent a column. It's not an idea, it's a sense of something you know, a demarked place.. .I have nothing to do with Conceptual art. I'm not interested in ideas..".[3] [quote in a talk with the audience, Dec. 1969] - "We live in a world of replicas, and I try desperately in a world of replicas to produce things that are not replicas of anything."[4] [quote of Andre in an interview, 1972] - "Up to a certain time I was cutting into things. Then I realized that the thing I was cutting was the cut. Rather than cut into the material, I now use the material as the cut in space."[5] [quote, between 1965-1977] - "My work is atheistic, materialistic and communistic. It's atheistic because it's without transcendent form, without spiritual or intellectual quality. Materialistic because it's made out of its own materials without pretension to other materials. And communistic because the form is equally accessible to all men."[6] [quote, before 1977] - "Actually my ideal piece of sculpture is a road."[7] [quote, before 1977] Criticism The gradual evolution of consensus about the meaning of Carl Andre's art can be found in About Carl Andre: Critical Texts Since 1965, published by Ridinghouse in 2008. The most significant essays and exhibition reviews have been collated into one volume, including texts written by some of the most influential art historians and critics: Clement Greenberg, Donald Kuspit, Lucy R. Lippard, Robert C. Morgan, Barbara Rose and Roberta Smith. He is represented by the Paula Cooper Gallery in New York, by Konrad Fischer Galerie in Düsseldorf and Berlin, by Sadie Coles HQ in London, and Yvon Lambert Gallery in Paris. Personal life Ana Mendieta's death In 1979 Andre first met artist Ana Mendieta through a mutual friendship with artists Leon Golub and Nancy Spero at AIR Gallery in New York City.[4] Andre and Mendieta eventually married in 1985, but the relationship ended in tragedy.[12] Mendieta fell to her death from Andre's 34th story apartment window in 1985 after an argument with Andre. There were no eyewitnesses. A doorman in the street below had heard a woman screaming "No, no, no, no," before Mendieta's body landed on the roof of a building below.
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